Welcome to the Piano World Piano ForumsOver 2.5 million posts about pianos, digital pianos, and all types of keyboard instruments
Join the World's Largest Community of Piano Lovers
(it's free)
It's Fun to Play the Piano ... Please Pass It On!

some time ago i have composed a little piano piece. its very simple and not so hard to play. if you have any ideas to make it sound better (the left hand i pretty boring...) than please feel free to edit my first music sheet.

Listening to my own recording I noticed I invented my own pause at the end of the 2nd time the phrase repeats, whoops.

I'm currently looking at Ted's Bravura study and I had a glance at ardiem's piece; can anyone tell me what this piece reminds me of (particularly bars 17-19 and 21-23), I've got a feeling it's in a pop song or something...

ps Sam how do you get an image in your post like that - I'd like to put a bar or 2 in my P&Fs thread

Originally posted by Will335: (what did you think of the dance by the way, did i ruin it?) - [/b]

No, you didn't ruin it! Sounds great!

A few ideas: the octave C's, transition to the 2nd part, you played very abruptly and loudly -- which is fine -- I imagine it as more of a transition, perhaps more lightly. Also, the 2nd part sounds very choppy in the left hand -- again, maybe a little lighter touch, and accent (or "unaccent"?) either the first beat or the second, but not both (either one, but consistantly so that it creates a cotnrapuntal bass line). I imagine it being a very light dance, especially in the middle; though maybe heavier in the beginning for contrast.

Great job, though, I love hearing you play it; and I'm glad you liked playing it, too! My biggest fear when posting my music is, "Will they like it?" :p

The score shows a trill on the first chord of bar 8 - it just happens to be my choice at the time of recording it; I put a kind-of mordent before the beat c,d,c with the 2nd c landing on the 1st beat. Glad you enjoyed the interpretation, I enjoyed playing it - pieces like yours greatly improve my reading Thanks!

I just can't play your study (!!!) - before, when I was reading it, after a few times I could play it safely at about adagio but now, I've basically learnt the notes and I'm looking at my hands but as soon as I try to record it I completely screw it up (perhaps I should go with the idea of this thread and just post an attempt but I don't want to embarrass myself). By the time I can play your piece, i'll have learnt 48 preludes and fugues!

Hey, Will, thank you for playing my piece!!I can hardly describe this cool feeling hearing someoneelse playing one's own composition."It made my day" - same here, too!

It's no problem with the alterations, it was interesting to listen to them.The c-d-c trill was exactly how I keep playing it, although (as you already thought) I usually prefer the whole piece more slowly., but I don't care too much about tempos and their maintenance in it myself.Sam, originally I din't think of anything proud like a "royal interruption" in the middle section, but you're right, it can be played like this and it's a nice Idea. I thought, it's more like someone, who is lost in thought and maybe a little insecure how to go on.Or another idea: Someone leaves a room of big amusement for a short while and has to think about the happening for this amusement (and what worse things might be connected to it) for himself more seriously (and not distracted or influenced by others) and then comes back to the conclusion, that everything is ok.--> and party on etc...

Quote:

A few ideas: at the very bottom line of page 1, have you thought about Ab in the bass instead of A-natural?

Sam and jwjazz,I had tried the a-, too, but I wanted the a-natural, because it forces the whole passage to go on a little more.

Quote:

Also, the 4th line of the 2nd page, where I think that trumpet section begins, maybe start that first measure in the right hand on C instead of B?

That would greatly fit to the proud version. I hadn't thought of it. The "advantage" of the B is, that the next Bs would repeat it, which shows the idea of thinking about one special thing (whatever that may be) for a second time already in the next measure. With the A,C-Third there comes the next idea of the person's thinking (or already a first sub-conclusion), which is also repeated with the next A,C-Third.Thank you, Sam, now you made me think of the particular tones more intense. My next own interpretation must be much better in that way.

Quote:

Also, I do not understand why you introduce the Bb in the r.h. at the bottom of the 2nd page for so short a time. I think you could work more with it and expand those two measures into a transitional section by repeating the previous measures with the B and then the two with the Bb. Or you could just change the G (below the Bb) to an E. This seems to establish F Major a bit more, which seems needed at a transitional point as this.

Thanks, jwjazz, I'll try it out. I also doubt, if that, what my score shows is a good solution for a connecting passage.

Hay Dan, glad you enjoyed the interpretation - it's a good piece. In terms of your piece, I have to say I prefer your idea of someone lost in thought for the middle section - you definitely should keep that first B.

I am so surprised that you want to keep that a natural - the main problem is that on a recording, this section would sound like a mistake even if it's not because you don't have a major/minor 3rd clash anywhere else in the piece - it would stick out like a sore thumb!

As for the small section where you add a Bb for such a short time - I think it sounds ok because the following diminished section interrupts it and the music carries on a different route.

Originally posted by pianojerome:I see an overall arch in terms of dynamics: the first phrase is marked p (mm. 1-5), the second and third phrases are marked mf (mm. 5-9, 9-12), and the last phrase is marked p (mm. 12-15)

(with extra dynamic marks in between)[/b]

Quote:

Originally posted by mahlzeit:The thing that immediately catches my eye in Cultor's piece is that the rhythmic motif in each of the measures is identical (except for mm. 5 and 9, which start with a half note rest).

And that there are fairly large jumps.[/b]

Quote:

Originally posted by Will335:I worked out the reccurance of each interval in the melody only:

The first 3 phrases all descend down to Bb -- the last phrase only rises, three times, up 3 octaves.

The first 2 phrases, which are melodically identical, actually rise first -- up a major 7th, and then to the octave -- before descendinig back down. The 3rd phrase is a sort of middle phrase; we expect that the 4th phrase might repeat the original 1st and 2nd phrase melody. It starts to -- it jumps up that big interval, but instead of falling down as before, it repeats itself up and up again.

Yes -- your worries are mine. And I've thought, what can I do to bring more interest?

But, it should be so obvious to me -- I don't need to do anything other than what I said I'd do in the beginning: play other members' music, and post recordings. This is what everyone showed so much interest in at the beginning -- and that is what most of us have not yet done!

You're so great to record everything, Will! That's the real spirit of this topic. I'll make some recordings this weekend, and hopefully some others will do so as well.

I am not very good at learning and playing other people's pieces quickly so I am afraid my contribution will have to remain at providing compositions. Mind you, there are dozens more where those came from. It occurs to me that my romantic ones are probably too flamboyant and difficult for this purpose. I shall ferret out a couple of simple ones in other idioms.

_________________________
"Do what thou wilt shall be the whole of the law" - Aleister Crowley

Guys, this is the first time I step into this thread .. it is a great idea!!

I listened to the two compositions by Sam .. one by Kreisler .. another one by Cultor

Cultor made me feel lonely. The piece has an impressionistic feel surrounding it. Mystic is a word that describes it.And I want to know if the last run has any programmatic story behind it?

Kreisler made me feel introspective, not melancholy, but just introspection. I noticed how he developed a piece from just small recurring ideas or motifs like this constantly repeating ascending intervals he uses. This is a great compositional technique.

I also noticed the shifts in the harmony. But I want to ask if his piece is more melodic or harmonic in concept (if such a question can be asked, or if this question exists )

will, less on the forte here

Sam's compositions made me thinking and his dance did sound amazingly eastern, but I can still hear that it does not come from an easterner (will's slower interpretation is better than the faster midi interpretation - he brings a more folkish soul to it)

maybe Sam is influenced by Jewish folklore (and being a middle easterner myself, I know and hear some Jewish composers who lived in the beginning of the century - but their music is much more eastern than Sam's) - you can call Sam as the coming fusion between eastern folk and western a la Bartok

Hello everybody!I haven't been on here for quite some time and now just came on and noticed this thread.I really like the idea, and would very much enjoy hearing someone play my waltz-nocturne I posted some time earlier in the composer's forum, however this thread is kind of big and I couldn't figure out what to do.Anyway if someone would like to record the piece the sheet music can be found here.

Hey Will335, and thank you for recording my piece!It's really fun to hear others interpret these little "balls on lines"! I like your trills, you make them sound like I imagine they should (I don't get them that even myself).Sorry about the 8-marks on the score. NoteWorthy Composer didn't seem to have any 8va markings.

Will, I liked how you "jazzed up" my piece Southbound! It's a lot of fun to hear other people take what you came up with and then change it around in a way that suits them. If only your recording equipment was better, heh heh, wink wink.

I also liked Daniel's Nocturne piece very much, even if you played it "wrong". If only I was a better pianist, I could play these pieces for myself.

Well done, Will ! As with Ellen Lauderdale, you have shown me that playing things more slowly and phrasing with care can produce an effect as valid ,if not better in some ways, than my habitual hell for leather rush. Thank you for these insights and for the trouble you have taken.

_________________________
"Do what thou wilt shall be the whole of the law" - Aleister Crowley

OK, I hope it's not too late to post music here. It's my latest piece. It's called A Rainy Day, simply because it's been raining for the past two days and when I played it on the piano, it seemed to really fit the mood the weather had created.

_________________________
Once during a concert at Carnegie Hall, the violinist Rachmaninoff was playing with lost his place in the music and whispered to Rachmaninoff, "Where are we?" Rachmaninoff replied, in all seriousness, "Carnegie Hall".